1

EDEXCEL

A Level Music

Student Handbook

Name:

Form: Teacher(s): Mrs Clarke

2

Welcome to A Level Music

Overall aims

Students will develop performance skills (solo and/or ensemble), compose music

and learn about harmony. They will build up their aural and analytical skills by

studying selections from the New Anthology of Music and wider listening. The

full GCE course is excellent preparation for higher education courses in music,

but is equally valuable for non-specialists as a second or third area of study.

Head of Department: Kathryn Clarke clarke.k@woodkirkacademy.com

You should also work very closely with your instrumental teacher to make sure you are fully

prepared for your performances

Specification:

http://qualifications.pearson.com/en/qualifications/edexcel-a-levels/music-2008.html

YOU GET AS MUCH OUT OF THIS COURSE AS YOU PUT IN!

3

HANDING IN WORK AND DEADLINES

You will be set homework regularly by your subject teacher. It is your own responsibility to check this even if you

are absent from the lesson. If the teacher is absent from the lesson, work will still be set for you to complete. It is

your responsibility to organise your time, make sure you are able to access your work and get it handed in on

time. To alleviate stress and to ensure enough time is given for completing and marking work, the procedures you

MUST follow are outlined below:

•It is your responsibility to check that you understand the homework that has been set by the subject teacher. You must make sure you know how long the homework should take and the standard to which it should be completed.

•Your homework must be recorded in your planner.

•ALL work handed in must be given directly to the teacher responsible. Do not slip work under an office door or give to another teacher or student to pass on.

•Work must be named on each piece of paper handed in.

•A copy of the work handed in MUST be kept by the student on their user area or in their file and on their computer at home. This is for your protection if work is misplaced.

•Students need to pay careful attention to advice/feedback given whether verbally or written and must respond to all feedback in red pen to show they have understood the feedback

•In the case of absences from school on the day of a deadline, work must be sent by e-mail to your teacher. If the student is aware of the absence prior to the date, work needs to be handed in BEFORE the deadline or sent to the member of staff by e-mail.

•Work must be handed in at the start of the lesson on the day of the deadline.

•Notes from parents may not be given in place of coursework .

•Work submitted must be the student’s own work. Plagiarism or paraphrasing is illegal and could cost you your A level. Any quotations must be referenced.

•Research work does not mean JUST downloading from the internet.

•Computer and printer problems are NOT an acceptable reason for late work.

You must:

1. Complete your homework to the at least TARGET STANDARD. 2. Meet the homework deadline. Repeated failure to meet deadlines will result in referral to

homework support. 3. Send your work in to your subject teacher if you are absent on the deadline day. 4. Meet the coursework deadline or you will be referred. It is also not guaranteed that your

coursework will be marked or submitted for assessment if the deadline is not met. 5. Practise at least 30 minutes a day (minimum 5 times a week) to ensure you are making

progress on your instrument

4

GRADE BOUNDARIES AND USING UMS MARKS

Question: Why is my UMS mark important? Answer: The UMS mark is the mark that matters when calculating your final grade. Why do I need to know my UMS mark? You need to be able to set yourself targets, using the UMS information, to meet your target grades so you can secure a place on the university course OR the job of your choice. The tables below will help you calculate what UMS mark and grade you need. COMPONENT 1 Performing 30%

Max Mark A B C D E U

Raw Mark 60 51 46 41 36 32 0

UMS 90 72 63 54 45 36 0

COMPONENT 2 Composing 30%

Max Mark A B C D E U

Raw Mark 60 51 46 41 36 32 0

UMS 90 72 63 54 45 36 0

COMPONENT 3: APPRAISING 40%

Max Mark A B C D E U

Raw Mark 100 85 77 70 62 55 0

UMS 120 96 84 72 60 48 0

Total UMS 9MU0

MAX A* A B C D E U

300 240 210 180 150 120 0

NB: These grade boundaries are based on the old Specification and are subject to change

5

BREAKDOWN OF THE COURSE

COMPONENT CONTENT ASSESSMENT

COMPONENT 1: Performing 9MU0/01

Public performance of one or more pieces ,

performed as a recital Solo or ensemble

Minimum of 8 minutes (aim for 9 minutes)

Must be recorded after March 1st and submitted to the examiner by May

15th

Externally assessed – Non Examined

30% 60 Marks

COMPONENT 2: Composing 9MUO/02

Total of two compositions Composition One to a

brief or a free composition lasting at

least 4 minutes/aim for 5 minutes (40 marks) Composition Two:

Composition Technique (20 marks) at least 1

minute TOTAL TIME 6 MINUTES

Externally assessed – Non Examined

30% 60 Marks

COMPONENT 3: APPRAISING

9MUO/03

One written paper of 100 marks

Section A: Listening and dictation (50 marks)

Section B: essay questions (50 marks)

Written Examination: 2 hours 40%

100 Marks

6

COMPONENT 3: Set Works and Wider Listening

Below is a guide to the set pieces you will be studying, as well as some suggested pieces to help you gain a better understanding. If you really want to get ahead, listen to

as much of the suggested music as possible, throughout your two years.

Area of Study Set Piece Suggested Wider Listening

Area of Study 1: Vocal Music

JS Bach: Cantata ‘Ein Feste Burg ist unser Gott’ BWV 80 Mvt 1 Chorus Mvt 2 Aria and Chorale Mvt 8: Chorale

Handel’s Messiah (‘And with his stripes’; Hallelujah’; ‘Worth is the Lamb’)

Ethel Smyth’s Mass in D (1891)

JS Bach: Cantata No 48 Ich elender Mensch

Britten St Nicholas (Cantata) Stravinsky: Symphony of

Psalms, Mvt III Mozart: Die Zauberflote (The magic flute) No. 4 Recit and Aria No 5 Quintet

Purcell: Dido’s Lament (thy Hand Belinda’ and ‘When I am Laid in Earth’

Verdi: Rigoletto Act 3 No 11 and 12

Wagner: Die Walkure, Siegmunde and Sieglinde, Act 1

Beethoven: Fidelio (example of singspiel)

Weber: Der Freischutz (example of singspiel)

Vaughn Williams: On Wenlock edge No 1 On Wenlock edge No 3 Is my team Ploughing? No 5 Bredon Hill

John Dowland: Flow my Tears

Schubert: Erlkonig, An die Musik, Die Forelle

Schubert: Der Doppelganger

Area of Study 2: Instrumental Music

Vivaldi Concerto in D Minor, Op 3 No 11 Allegro – Adagio e spiccato – Allegro Largo e spiccato Allegro

J S Bach: Brandenburg Concerto No 4 in G

Corelli: Trio Sonata in D No 2, Mvt IV

Tippett: Concerto for Double string orchestra

C Schumann: Piano Trio In G Minor Movement 1

Beethoven: String quartet in C movement III and IV

Brahms: Piano Quintet in F minor Op 34 Movement III

Dvorak: Dumky Trio

Shostakovich: Piano Trio No 2

Mozart: Piano Soanta in B flat Movement 1

Berlioz: Symphonie Fantastique

Berlioz: Harold in Italy

Liszt: Les Preludes

7

Movement 1 Haydn: Symphony No 26 in D Minor ‘Lamentatione’ mvt 1

Area of Study 3: Music for Film

Portman: The Duchess The Duchess (opening) Mistake of your life Six Years Later Never see your Children Again The Duchess (End Titles)

Debbie Wiseman: Wilde (1997)

Hans Zimmer: Gladiator (2000)

Takemitsu: Black Rain (1989)

John Williams: Schlinder’s List (1993)

Pheloung: Morse on the Case

Elfman: Batman Returns Birth of a penguin part 1 Birth of a penguin Part 2 Batman vs the Circus The Rise and Fall from Grace

Ennio Morricone: Once upon a time in the West (1968)

Takemitsu: Black Rain (1989)

Debbie Wiseman: Wilde (1997)

Hans Zimmer: Gladiator (2000)

Takemitsu: Black Rain (1989)

John Williams: Schlinder’s List (1993, ET Flying theme

Hermann: Psycho Prelude The City Marion The Murder The Toys The Cellar Discovery Finale

Max Steiner: King Kong (1933)

Takemitsu: Black Rain (1989)

Auric: the Siege of Burgundy

Goldsmith: Planet of the Apes

Area of Study 4 Popular music and Jazz

Courtney Pine: Back in the Day Lady Day and (John Coltrane) Inner state (of mind) Love and Affection

Louis Armstrong and his Hot Five: west End Blues

Duke Ellington ad his Orchestra: Black and Tan Fantasy

Miles Davis Quintet (Four)

Jeff Buckley: Grace

Carl Perkins: Honey Don’t

Kate Bush: Hounds of Love Cloud busting And Dream of Sheep Under Ice

The Kinks: Waterloo Sunset

The Beatles: A Day in the Life

Desmond Dekker and The Aces: You can get it if you really want

Van Morrison: Tupelo Honey

Oasis: Don’t look back in Anger

Moby: Why does my Heart feel so bad?

The Beatles: Revolver Eleanor Rigby Here, there and Everywhere I want to tell you Tomorrow Never Knows

Michael Jackson: Thriller (1982)

Carole King: Tapestry (1971)

Stockhausen: Gesang der Junglinge

Area of Study 5 Fusions Debussy: Estampes No 1 Pagodes No 2 La Soiress dans

Baris Melampahan: Gong Kebyar de Sebatu

8

Grenade

Familia Valera Miranda: Cana Quema Se Quema la Chumbamba All ava candela

Anoushka Shankar : Breathing Under Water Burn Breathing Under Water Easy

Area of study 6 New Directions

Cage: Three Dances for Two prepared Pianos Dance No 1

Schoenberg: Peripetie’ from five orchestral pieces

Stockhausen: Gesang der Junglinge

Peter Maxwell Davies: Eight songs for a Mad King

Saariaho: Petals for Cello Solo and optional electronics

Berio: Sequenza III for female voice

Rautavaara: Cantus Arcticus

Sibelius: Tapiola

Stockhausen: Gesang der Junglinge

Stravinsky: Le sacre du printemps Introduction Les Augures printemps Jeu du rapt

Messsiaen: Des canyons aux etoiles

9

TIMELINE FOR A LEVEL MUSIC – Year 12

If you miss a lesson either through a known absence or illness, it is your responsibility to catch up the work.

It is essential that you attend weekly instrumental lessons and practise for at least 30 minutes a day.

Week No

Component 1 Performing

Component 2 Composing/Bach Chorale

Component 3 Appraising

1-4 Base line performance from prepared

Summer work – mark using criteria

Key signatures and harmony tasks using old spec harmony questions

Work through higher theory book (lower if needed). Book to be completed by half term

Mini composition task to be completed over half term – link to devices used in set works

Introduction to periods of Music

Bach Set work and wider listening

5-7 Continue exploring possible

performances/working towards a grade using

feedback

Mozart set work and wider listening Mock exam to consolidate learning at the end of half term. Listening question, essay, unfamiliar and dictation

HALF TERM

8-10 Mrs D harmony book

Work through in lessons and for homework at own pace – to be completed by Feb half term

Mini composition task to be completed over Christmas – link to instrumental set works

Vivaldi and wider listening

11-13 Schumann set works and wider listening

14 Mock performance of one piece – mark using

grading criteria

Mock exam to consolidate learning at the end of half term. Listening question, essay, unfamiliar and dictation

CHRISTMAS HOLIDAY

15-17 Respond to feedback Start working on

performances for mock – at least 5 minutes

Mrs D harmony book

Work through in lessons and for homework at own pace – to be completed by Feb half term

Mini composition task to be completed over Half term – link to Portman and C Pine

Portman: Duchess and wider listening

18-19 Courtney Pine and wider listening

20 Revision and Practise mock

Mock exam to consolidate learning at the end of half term. Listening question, essay, unfamiliar and dictation

HALF TERM

21-23 Continue with performances

Record for Easter ready for final feedback

before mock

Look at old AS Bach papers – chord progressions and cadences

Mini composition task to be completed over Easter – link to devices used in Bush and Elfman

Elfman: Batman and wider listening

24-25 Kate Bush and wider listening

26 Revision and exam practise

EASTER HOLIDAY

27 Continue to rehearse by responding to

feedback – arrange

Composition arrangement or piece linked to instrumental

Practise Mock

28-30 Debussy and wider listening

31-32 Familia and revision

10

time with accompanist day

Create composition portfolio for mock

HALF TERM – revision booklet

33-34 YEAR 12 MOCKS Listening exam

composition portfolio of year 12 mini compositions Performance (minimum 5 minutes)

35-40 Plan 8 minute recital – aim for 9 minutes

Plan ideas for final composition create a possible brief

Beatles and wider listening

Independent work on wider listening and Year 13 set works

11

TIMELINE FOR A LEVEL MUSIC – YEAR 13

If you miss a lesson either through a known absence or illness, it is your responsibility to catch up the work.

It is essential that you attend weekly instrumental lessons and practise for at least 30 minutes a day.

Week No

Component 1 Performing

Component 2 Composing/Bach

Chorale (KC)

Component 2 and 3 Composing/Dictation (RD)

Component 3 Appraising

1-2 Plan 8 minute (9 mins) recital – look at grading

criteria Arrange at least 2 practises with

accompanist and record for week

7

Recap rule of Bach chorales

Complete all AS exam papers with response to feedback

Arrange 1 tutorial with KC in a free period to discuss composition plan

Look at AS dictation exercises from Rhinegold book

Practise intervals and rhythm

Look at briefs set by the board – choose or create own brief

Start to plan composition thoroughly and research ideas for inspiration

Think about devices already studied in set works that could be explored

Create an ideas board: Chords ideas/melodic ideas etc

Start to compose – first draft by mock – weeks 16 - 18

Beatles set works and wider listening

3 - 4

Petals – set work and wider listening

5 -6 Cage – set work and wider listening

7 Mock exam focussing on all setworks from Year 12 up to now

Listening, dictation, unfamiliar listening and essay

HALF TERM

8-10

Respond to performance

feedback Arrange at least 2 practises with

accompanist and record for week

14

You must make sure you have

nearly 9 minutes rather than 8

Arrange for some tutorials with KC in free periods for composition

Must finish the whole of Mrs D’s book by Christmas with all response to feedback

Regular feedback against assessment criteria

Arrange for some tutorials with KC in free periods

Hand in at Christmas – first draft

V Williams - set work and wider listening

11-13

Berlioz - set work and wider listening

14 Mock exam to consolidate learning at the end of half term. Listening question, essay, unfamiliar and dictation

CHRISTMAS HOLIDAY

15 Look at perf feedback-

rehearse with accompanist and

rerecord this week!

Explore modulations in more detail

Start to work through exam papers

RD tutorial in lesson time – where does the composition sit in the grading criteria? Why? What improvements are needed?

Start to work through improvements - resubmit start of week 18

Revision of all set works

16 - 18

Year 13 MOCKS Listening exam

Bach chorale paper – not in exam time but within weeks 16 - 18 Performance submitted week 15

Composition submitted week 14 with improvements

19 - Continue to Continue to Continue to refine composition Psycho (start in week 18 if

12

20 refine performance

practise exam papers

possible)

HALF TERM May use a day for composing

21-23

FINAL PERFORMNACE

CAN BE RECORDED

FROM WEEK 23 (march 1st)

Recital in front of 2 people

Continue to practise exam papers

Make final improvements to composition

Shankar - set work and wider listening

24-26

Stravinsky - set work and wider listening

EASTER HOLIDAY Revision day for composing - tbc

27 - 32

BACH CHORALE TO BE COMPLETED IN EXAM CONDITIONS 4 – 6 HOURS

Composition to be submitted by the end of week 28

Dictation and set work revision

Set works revision and listening practise

STUDY LEAVE Lessons will still be available in normal lesson time or in KC’s frees – please arrange

COMPONENT 3: APPRAISING EXAM June 18th 2018 AM

2 hours

13